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PUBLISHED BY 

The Leading Pattern Co. 

228 SECOND AVENUE 

Cot. 14th Street NEW YORK, N. Y. 



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THE 



practical ^feetcfjer 



A complete and practical method of sketching 

FOR 

Women's, Misses', Junior's, Children's and Infant's Garments. 




Specially designed for self-instruction 
BY 

Prof, i.^'rosenfeld 

ll 
PUBLISHED BY 

QIlj^ foa&ing f attrnt (En. 

NEW YORK, U. S. A. 
1915 



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COPYRIGHT BY 

ISIDOR ROSENFELD 

ENTEREp IN THE LIBRARY OF CONGRESS 

WASHINGTON, D. C. 

1915 



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©CI,A411032 

AUG i j 1915 



THE PRACTICAL SKETCHER 



INTRODICTION 



Recognizing the needs of a practical method 
for garment sketching, I have set my mind to 
build a solid base of well-controlled and system- 
atic outlines for practical sketching by which the 
method is not only to bring the necessary outlines 
but also to simplify the system of body sketching 
for all kinds of women's, misses', juniors', chil- 
dren's, and infants' garments. 



The systematic outlines of sketching given in 
these pages are based on positive constructions 
whereby each diagram fulfills the requirements 
of a certain body foundation for sketching by 
which a practical method of sketching can be 
mechanically controlled. 

The Author 



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6 THE PRACTICAL SKETCHER 

THE PROBLEM OF GARMENT 
SKETCHING. 

When beginning to sketch it is necessary for 
us to remember that when sketching the garment . 
there is no such thing as a set of measures which 
build the sizes of sketching, all there is necessary 
is, that we need to employ a certain amount of 
space by which the entire sketch is carried out. 
A sketch is therefore built by bases of inches, 1 in - 
ch, I2 inch, or '4 inch. 

You will note that the instruction in the foJ- 
lowing pages, the entire method is given and de- 
scribed by inch spaces. These spaces are the 
divisions equally divided according to the height 
of the body which will, no doubt, prove that in 
order to make the proportional sketch it is nec- 
essary for the sketcher to remember to have some 
knowledge of obtaining proportions according to 
height measure for which a diagram and descrip- 
tion is given in the continuing pages by which 
this method will be fully described. 

It is also necessary to remember that each 
and every different kind of garment meaning, 
waists, skirts, and dresses, occupy a part of the 
entire height division for instance, the waist 
foundation occupys 2 units of this height division . 
The skirt occupys 5 units of height division and 
when the entire amount is added, which means 2 
for waist and 5 for skirt, which fully amounts to 

7 units which shows that we are to employ these 7 
units for the full body which combines the waist 
and the skirt and makes a dress foundation. 



THE PRACTICAL SKETCHER 



The jacket, coat, and cape foundations are 
to be built on a complete foundation whereby we 
recognize the lengths and full effects of the body 
and the lengths therefore for, these garments are 
distinctly showing the various spaces of the 
entire body. 



For the different sizes of juniors', children's 
and infants' garments the system of body 
sketching can also be distinct so as to be able to 
tell the different growths in inches which enables 
us to obtain the correct body sketch for every 
garment. 



It shall be understood that the outlines for 
sketching for each and every model for women' 
misses', juniors', children's, and infants, size 
shall be built according to its proportional height 
so that we are able to obtain the correct division 
of each model size and it will be necessary for us 
to remember that we have to post ourselves to 
the height of each model size. The height sha^^ 
therefore be remembered for eacli and everY 
model size which are as follows : 

Women's size 36 proportional height is 5 ft. 6 in. 

Misses' size 16 " " " 5 ft. 4 in. 

Juniors' size 15 '' " " 5 ft. 1 in. 

Childs' size 10 " " " 4 ft. 8 in. 

Infants' size 4 " "" .3 ft 8 in. 



THE PRACTICAL SKETCHER 



THE PROPORTIONS FOR BODY 
SKETCHING 



In beginning to prepare foundations for body 
sketching it is necessary that we obtain the found - 
ation for the total height by which we can fully 
describe the spaces for each part of the body and 
in order to obtain the same note the diagram here- 
with showing that the entire height whereby we 
may learn that the first unit covers the head space 
from the neck to the natural waist length occupys 
2 units and the space between the waist length to 
the ground occupys 5 units for the skirt length. 

It is therefore necessary to memorize that we 
are to occupy 7 units of the body as the head space 
is not necessary when sketching the garment. 

Remember that the amount of space which 
makes up the entire form you will note each space 
measures 1 inch in height which makes this outline 
a 1 inch space sketch outline and this is why we 
call the size of this sketch a 1 inch space. 

This drawing can be planted on a ' •_> inch also 
and no doubt the sketch will be one half of this 
size but as a rule the 1 inch space sketching is the 
most suitable one and therefore employ the 1 inch 
space for all further instruction. 



THE PRACTICAL SKETCHER 9 



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10 THE PRACTICAL SKETCHER 



LESSON NO. L 



4 7 

5 8 


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6 9 


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In order to begin the sketching foundation 
line, make up your mind the space which is the 
size of sketching as mentioned in the front pages 
of this work. Now for instance, we begin the 
foundation of the blouse or waist sketch with a 1 
inch space which is the most practical one. 



As we are now to begin a foundation for a 
waist or a blouse make 1 equal inch spaces as 
shown on the diagram, from 1, 2, 3, 4, 5 and 6. 
The space between ! to 4, 2 to 5 and 3 to 6 is 
2 inches each and now divide the space from 1 
to 4 and 3 to 6 and draw a line from 7 to 8 and o. 
which you will, no doubt, notice is a box of r 
equal inches. Follow diagram on top. 



THE PRACTICAL SKETCHER 



11 



LESSON NO. 2. 
















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To continue, use the foundation of Lesson 
No. 1, and continue with dividing the opposite 
space between 1 and 2, which makes 3, and then 
divide the space between 1 and 3, which make 4, 
and cross lines from 4 to 5 and 3 to 6. These lines 
will be used for the shoulder and neck space. 

Now divide the space between 1 and 7, which 
makes 8 and draw a straight line down to 11 . Now 
again divide the space from 7 to n, which makes 9, 
and draw a line from 9 to 10. 



Note that the two lines at 7 and 9 are raised 
up a '4 of an inch. These are for preparing for 
the neck part Note that this particular lesson 
described on the diagram is preparing a front 
view, whereby the bust will appear lo the right- 
hand side and therefore watch carefully the 
diagram. Follow diagram on top. 



12 THE PRACTICAL SKETCHER 



LESSON NO. 3 




To continue, we are now to prepare the neck 
and shoulder space and therefore we first begin 
the neck part. Take the equal space between 8 
and 1 and 7 and 3 and make the curve of the neck 
from 7 to 8 as shown on the diagram. Then ex- 
tend bias lines from 7 and 8 up towards 9 and 10. 
The line should be a trifle bias to the inner part of 
the neck and then make a curve at the top which 
is from 9 to 10 and a lower curve for the top part 
of neck at 12 to follow the effect of the bottom 
curve from 7 to 1 1 to 8. 

Now make connections for the shoulder from 
8 to 2 and 7 to 4 and curve them as shown. Con- 
tinue from 4 to 6 for the bust curve, from 5 to 6 is 
about }i of an inch which is a one quarter part of 
a one half space or of a 3^ 2 inch. 

The other shoulder to the left side which is 
at 2 and 0, you will note, give a sleeve or an arm- 
hole curve and the space between 2 and is about 
}'8 of an inch and the space between 2 and the 
outside curve is a double amount and this curve 
has to be partly studied to show the proper or nat- 
ural detail of the sketch. 



THE PRACTICAL SKETCHER 13 



LESSON NO. 4. 









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This lesson will finish the entire front sketch 
for the blouse or waist and therefore continue to 
curve from 6 to 7, down to 8. 7 is about 
>4 space between the line at 6 to the bottom line, 
which is 8. 8 is about ]i space of an inch, or 3^2 
space between the line and the center line. 

You will note that 9 is ^ij space of the other 
side and between 9 and 10 is about \ of an inch 
allowance, which makes then the proper belt effect 
from 10 to 8 and curve them to the parallel space 
about li of an inch for belt effect, as shown on the 
diagram, from 8 to 12, and 10 to 11. 

Now continue making the sleeve curve, from 
3 down to 4, and from 2 curve out a trifle round- 
ness down to 5, and make a hollow circular curve, 
from 4 to 5, which finishes the bottom length 'of 
sleeve and the length for same is guided by the 
full waist length. The part sleeve which is shown 
at the right-hand side is only continued from 7 to 
0, to show that the sleeve is hidden by the bust 
and this completes the lesson of sketching the 
blouse or shirt waist. 



14 THE PRACTICAL SKETCHER 



LESSON NO. 5 




BLOUSE SKETCHING 
Left Hand Side Bust Effect. 



Note that this sketch is the same as Lesson 
No. 4, with the only difference, that this outline 
is showing the reverse way of sketching the bust 
effect and that the bust for this sketch is showing 
towards the left and not to the right. The sleeve 
and shoulder is showing towards the right hand 
side. It is therefore not necessary to repeat this 
lesson. All you may do is to study carefully the 
first ones and reverse this accordingly. 



THE PRACTICAL SKETCHER 15 



LESSON NO. 6 





10 






11 
















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8 7 


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2 



BACK VIEW OF BLOUSE 



To begin the back view, it is again necessary 
to produce the diagram of the first lesson. When 
such is complete divide from 1 to 2, which makes 
3 and from 3 to 1 which makes 4, and draw Hnes. 
Then divide between 3 and the middle line which 
makes 7. and from 7 to the middle line, which 
makes 8 Again divide from the middle line to 5, 
which makes 6 and from the middle line and 6, 
which makes 9, and make all these lines. 

Note that lines 8 and 9 are dra wn up ^^ of an 
inch to 10 and 1 1 . preparing for the next space. 



16 THE PRACTICAL SKETCHER 



LESSON NO. 7. 







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BACK VIEW. Continued 



To advance for the back view sketch divide 
equally the space between the upper top line and 
and lower line which appears at 1 and 2 and draw 
slant lines in for the neck from 2 to S and from 1 
to 7, as shown on the diagram. Then connect 
shoulder lines from 1 to 4 and 2 to 3. 3 and 4 are 
I of an inch in from the straight line Then divide 
•on the bottom line between the edge line and cen- 
ter line on both sides, half r^pace, which makes 9 
and 1 and the space between 9 and 1 is the orig- 
inal width ofbackatthe waistline, which makes 
the proper space for belt at the waist line. This 
makes it ready for continuation on the next lesson. 



THE PRACTICAL SKETCHER 17 

LESSON NO. h 




BACK VIEW Complete. 

In order to complete the back view, it is now 
necessary to continue the curving of the shoulders 
for the sleeves, from 1 down to 7 and 2 down to 8. 
The space of curve line is 7 and 8, which is about l 
inch extended from the original outline of the 
box which always means j 8 of the box space which 
we use for sketching. 

The sleeve length of this sketch is situated 
according to the full length of the waist, which 
reads to 7 and 10 and 8 and 9. The space between 
7 to 10 and 8 to 9 is about 3 2 inch or ' j of this box 
space and connect to 18 and 19 for the underarm 
Space which is about jo space between the waist 
line and breast line and then it is necessary to 
make a round curve from 1 to 3 and 2 to 4 . Be 
careful and study these curves as they are the 
most important part for sketching. The belt 
effect between 3 and 5 and 4 and 6, you will notice 
is about ji of an inch for 1 inch space of sketching. 



18 THE PRACTICAL SKETCHER 



LESSON NO. 9 







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BACK VIEW 
Left Hand Side 

To draw a sketch of back view left hand side 
with trifle side view, it is necessary to draw the 
same foundation lines and all we immediately 
have to see what changes are to be made. There- 
fore note when giving a back view, left hand side, 
it is meant that the left shoulder from 13 to 1 is 
built the full width and the right hand side of the 
shoulder from 14 to 2 is narrower than the original 
The space between 2 and 11 is ^ of an inch in from 
the outline at 11 instead of ^z of an inch and the 
other shoulder at 1 there is none taken off but the 
full width of space is used for the full width of 
shoulder but otherwise there is no difference in the 
entire body effect with the exception of the main 
sleeve for which the curve is about equally divid- 
ed on the outline from 1 to 7 and 8, not as the 
:sleevecn the left hand back sketching. 



THE PRACTICAL SKETCHER 19 



LESSON NO. 10 







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BACK VIEW 
Right Hand Side 

In order to make a sketch of the back view, 
right hand side, note the difference between the 
left hand and flat back sketch. The difference in 
this, in the right hand view, is this is built just the 
opposite way. The full width of shoulder at the 
right hand at 1 takes the entire space just as the 
shoulder in Lesson No. 9, from 13 to 1. The 
other side from 1 1 to 2 is \ deducted instead of \ 
of an inch. 

All curves, otherwise, are made the same as 
all other backs. The sleeves of this form are just 
the same as the left hand side view, which is both 
ways about equal space for the curve of the sleeve 
from 1 to 9 and 10. The left hand side sleeve for 
this sketch is drawn a trifle curvy down to 7 and 
8 reaching about the full length of waist in a hidden 
form to extend Vi inch from 5 to 7. 



20 THE PRACTICAL SKETCHER 

LESSON NO. 11. 

STYLE BLOUSE SKETCHING 

This lesson is giving the full details of how to 
sketch a certain style of blouse when the founda- 
tion of sketch is already prepared. Note that the 
diagram on the opposite page is fully prepared 
with foundation lines. Before beginning the same 
look well at the diagram and see the position of 
the foundation sketch used for this diagram. You 
will note this one is the left hand sketch, which 
means the bust is built towards the right. The 
foundation for this, you will find in lesson 5, 
in the front pages and in order to begin the style, 
it will be necessary to prepare the foundation and 
use same as prepared, then continue with the fol- 
lowing outlines to make the stylish sketch. To 
begin, note, the first thing we do is to begin the 
collar curves for the direct breaking for the neck 
at 1 and 2 and then continue with the curving 
towards the shoulder from 1 to 3 and 2 to 0. 

Notethat the collar at the arm side is show- 
ing narrower considering the amount of the width 
of shoulder given at that place and that is because 
the shoulder at this place gives the full width, as 
it is the main shoulder line, otherwise, the collar 
at both sides is the same width and continue mak- 
ing curves for collar. The beginning of the opening 
which is placed at 10 which ishalf way between 
the space of 3 and 4 and a trifle in from the center 
line towards 10. This is done because there is a 
button stand allowed and as the lapping is done 
towards the arm side. Note the front buttons 
down bias towards 12, which is placed between 
the breast line and waist line 

The curving of the yoke from 8 to 1 2 up to - 
is followed according to the slantness of the front 
buttoning. The lap-over is the style which is 
placed towards the arm side, which is taken tqual 
epace between 7 and 5 on the waist line, which 
makes 6 and raised up to the breast line. For fur- 
ther details watch closely the diagram and follow 
closely this particular style. 



THE PRACTICAL SKETCHER 21 
LESSON NO. 11 





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22 THE PRACTICAL SKETCHER 



LESSON NO. 12. 
STYLE BLOUSE SKETCHING BACK VIEW 




The back part of this style is simple. The 
collar curve, which you will note on the diagram i 
is raised on the line, from 1 to 3. The curving at 
the shoulder part is rounded up to meet the effect 
of the front collar curving to harmonize with the 
same proportionately. The yoke effect, which is 
shown on the back, is shown a trifle higher to 2 
and 4 with a slight curve effect, which is as a rule, 
to be used when this style of yoke is formed at the 
back. The original back view of this diagram 
where the foundation can be first learned, which 
is the proper thing to do before making use of a 
style forming the back is to be found on page 17, 
lesson 8, where all details are given how to obtain 
the complete foundation of back view. This is 
merely an outline of how to build a style on the 
same. Note that the foundation lines for either 
front or back are not necessary to be drawn when 
a style is needed, only the original curve lines can 
be made. It is understood that this can only be 
done when the student has full acquaintance with 
the foundation lines, whereby the necessary 
curves can already be made freehand, which, no 
doubt, comes after practice according to the 
foundation lines. 



THE PRACTICAL SKETCHER 



23 



LESSON NO. L^ 



3 1 

4 2 



In order to begin sketching the foundation 
for a skirt, remember that the skirt is to occupy 
5 sections of the total height which means that 
5 one-inch spaces are to be used in length and 
draw lines as follows : from 1 to 2 make 5 inch 
spaces and from 1 to 3 ; 2 to 4 is 2 inches and cross 
lines as shown on diagram, which will make spaces 
5 inches in length and 2 inches in width and see 
next lesson for continuation. 



24 THE PRACTICAL SKETCHER 



LESSON NO. 14 



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To complete the front view , begin the waist 
part and divide between 1 and the center line at 
X, which makes 5 and the center line at X to 3, 
which makes 6 and curve the waist effect from 5 
to 6. Then connect for the hip from 5 to 9 and 6 
to 8 and note the connection at the hip is a trifle 
in from the straight side lines. For a narrow bot- 
tom on skirt have y^ of an inch in at 2 and 4 and 
for the wide bottom skirt increase at 2 and 4, ^ 
>ofaninchat each side. 



THE PRACTICAL SKETCHER 25 

A WORD ABOUT SKIRT SKETCHING 
IN ALL DIFFERENT VIEWS 

In sketching skirt foundations for different 
views, it will be necessary to remember that skirts 
may be sketched in 4 different views ; front view, 
right hand view, left hand view , and back view. 
Each of these is placed on one particular founda- 
tion as shown on page 23. It is therefore neces- 
sary for the student to remember the different 
details in changing the actions for each different 
view. 

The front flat view, which is the very first, is 
begun with the waist part which is equally divid- 
ed in 4 equal sections, from 1 to 5, 5 to X, X to 6, 
and 6 to 3 which are equal proportions at the rate 
of ' 2 irich each as the entire space from 1 to 3 is 2 
inches. The hip is continued as shown on diagram 

The right hand side view is altogether differ- 
ent than the front view showing the waist action 
entirely towards the right hand side. The begin- 
ning of waist is at the edge line at 1. The side 
seam is ja of an inch in from the one half of dia- 
gram from X to 1 1 . 

The left hand side view is just the opposite 
direction of the right hand side view, which i s the 
reason of operating on the same with the opposite 
directions, but the action and amount in space is 
all the same as the right hand side view. 

The back view is a trifle similar to the begin- 
ning part of the flat front view with the under- 
standing that the waist is equally divided into 4 
equal parts of the entire foundation, from 1 to 9, 
9 to 5; 5 to 7, and 7 to 3, The space at the bottom 
from 4 to 8 is }i of an inch decrease and from 2 to 
10, at the right hand side is % inch increase and 
connected towards 11 up to 9. 



26 THE PRACTICAL SKETCHER 



LESSON NO. 15 



RIGHT HAND SIDE VIEW 



In beginning the side view always prepare the 
first lesson of skirt foundation and guide yourself 
for the front line according to line 1 and 2. 



From 2 to 3 allow H of an inch and connect 
the same up to 1. In order to establish the right 
waist point deduct about \ of an inch at X towards 
11 and curve for waist from 1 to 11 and continue 
for the hip from 1 1 towards 8 down to 4 as shown 
on the diagram. 



The space from 7 to Sis '4 of an inch for in- 
crease of hip and the raise from 4 to 9 for bottom 
curve is also \ of an inch. Then curve the bottom 
as shown on the diagram, 9 to 6 and 2 to 3. The 
guide line for front may be used from 5 to 6. This 
■completes the right hand side view. 



THE PRACTICAL SKETCHER 27 



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28 THE PRACTICAL SKETCHER 



LESSON NO. 16 



LEFT HAND SIDE VIEW 



The left hand side view is an actual copy of 
the right hand side view and it is therefore only 
necessary to use the opposite directions in spaces 
and all actions necessary. 



The belt for both or probably all skirt sketch- 
es shown herewith are /{ of an inch. The upper 
curve is followed always according to the lower 
curve as shown on the sketch, from 1 to 11. and 
the above curve as shown on the diagram on 1 2 is 
the opposite lower curve at 5. 



THE PRACTICAL SKETCHER 29 




30 THE PRACTICAL SKETCHfiR 



LESSON NO. 17 



BACK VIEW OF SKIRT 

In order to begin the back view of the skirt 
sketch, it will be necessary to prepare the founda- 
tion lines as shown in the first lesson, from 1 to 2 
crossed to 3 and 4, 5 inches in length and 2 inches 
in width and then divide the same lines between 1 
and 3, which makes 5 and between 2 and 4, which 
makes 6. 

The straight side of the skirt, which is 
towards the left hand side is divided equally be- 
tween 3 and 5, which makes 7 and from 4 to 8 is ]i 
of an inch and connect 7 and 8 for a straight side 
seam of skirt. Then 9 is H of the space of 1 and 
5 and the trace line, which is preparing the back 
seam, is J2 space between 5 and 9. 

From 2 to 10 is 3^9 inch and connect with a 
curve line up to 9 to meet 2 spaces up from the 
bottom at 11, as shown on the diagram. The 
trace line at the bottom, which prepares the back 
seam at the bottom is ^4 of space between 6 and 
10, which makes 1 2 . The curve of the waist line 
at the back is rounded up a way from 7 to 9; fol- 
low the upper curve above 7 and 9 accordingly, 
which makes the opposite diagram of the front 
sketch . 



THE PRACTICAL SKETCHER 31 




32 THE PRACTICAL SKETCHER 



LESSON NO. 18 

BACK VIEW OF SKIRT 
WITH TRAIL EFFECT 

The trail effect, back view, which you will 
note is as a rule used for evening wear and there- 
fore has an increase on the bottom in length of 1 
additional inch from 2 to 5, and 1 additional inch 
in width from 5 to 6. 

The foundation is drawn the same way. The 
waist is equally divided in the center as the front 
view of skirt as shown on the diagram. X is the 
center of 1 and 3, and from X to 7 and 8 is equally 
<iivided. At 4 there is .^ a of an inch space in and 
connect it up to 8. 

In order to draw the right hand side line take 
]/2 from 1 and 2, which makes 9 and draw a line 
from 7 to 9 down to 6 as shown on the diagram, 
and then make a trace line which will show the 
back seam from X at the waist line "4 of an inch 
in lost with a curve to 2 down to 6 following the 
effect of the line from 7 to 9 to 6, and the bottom 
to be curved from 4 to 5 in connection with 6, as 
shown on the diagram. 



THE PRACTICAL SKETCHER 33 



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34 THE PRACTICAL SKETCHER 



LESSON NO. 19 



STYLISH SKIRT SKETCH 

This lesson shows how to sketch a styHsh 
skirt. You will note that this skirt is built on the 
ordinary foundation as begun with the exception 
that a trifle change is made regarding the style. 
Note the differences as follows: 

At the waist line, which is the principle part, 
note that at 10, which is half of the right hand 
space between 1 and X, there is ^ a of an inch 
allowance towards 1. The left hand side from 9, 
there is U of an inch in towards the center and 9 
is half space of X and 3. 

The yoke part of this skirt, which is rested on 
the second line is about j^ of the total height, 
which is therefore the average length of a short 
yoke. The bottom of the skirt is naturally in 
creased with a straight line to show the medium 
fullness of the skirt which is as a rule left to judg- 
ment, and also to carry out the various styles, 
from time to time. 

This skirt shows a short length skirt. For a 
full length skirt we reach the bottom line from 2 
to 4, and as this sketch, we have the skirt shorter 
about 4 inches, which is represented by j4 inch 
space up at 5 and 6. 

The back part of this sketch is simply contin- 
ued exactly the same effect with the exception 
that we may make at the back no buttoning. 



THE PRACTICAL SKETCHER 



35 



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36 THE PRACTICAL SKETCHER 



LESSON NO. 20 

COMPLETE FOUNDATION 
FOR DRESS OR SUIT 

The opposite diagram is showing the com- 
plete foundation for the entireheight of the body 
which consists of 7 equal spaces on which we com- 
bine the blouse or waist part with the combina- 
tion of the skirt as shown on the diagram, divided 
into 7 spaces in height and 2 spaces in width. 
In order to continue for any one of the garments, 
a dress or a suit, it is first necessary to note the 
entire foundation of the complete body from neck 
to the ground, which will be continued in the fol- 
lowing lessons, which are described by diagram 
and description. 

You will note the continuing lessons are 
strictly devoted for dress Note that in order to 
prepare a complete outline for a suit, it will be 
necessary to refer to this description and diagram 
just as well as we are now making use of it for a 
dress. The reason for making use of this partic- 
ular foundation is to simplify the proper style 
creating the most simplest way and at the same 
time, to shorten the length of time for the further 
practice and doing away with all hesitation, 
which may occur from time to time. 

In the further lessons you will no doubt, find 
complete foundation prepared without lines, 
which is to show that this foundation must be 
well memorized that no systematic lines are 
necessary. 



THE PRACTICAL SKETCHER 37 



38 THE PRACTICAL SKETCHER 



LESSON NO. 21 



SECOND COMPLETE FOUNDATION 
FOR A DRESS 



To continue the entire foundation for a dress 
we continue as follows: Divide from 1 to 3, 
which makes X and from 2 to 4, which makes XX 
and draw a straight Hne from X to XX. Then 
divide from 1 to X, which makes 8 and draw a 
Hne down to 9. This line particularly calls our 
attention that the main bust line will be built 
towards the right, which will be called right hand 
side view. 



Now let us build the shoulder line. For the 
shoulder line divide the upper space in half, 
which makes 5 and draw a line straight across and 
then divide from 1 to 5, making 6; draw a line 
also across, as shown on the diagram. Equally 
divide from X to 3, which makes 7 the outline for 
continuation for the neck place. 

In order to continue this foundation or for 
further advancing see the next diagram and 
•description. 



THE PRACTICAL SKETCHER 39 



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40 THE PRACTICAL SKETCHER 



LESSON NO. 22 



THIRD COMPLETE FOUNDATION 
FOR A DRESS 



In further progressing with the dress found- 
ation it is now necessary for us to make prepara- 
tions for curving and, as a rule, we first begin with 
the neck. 

Therefore, draw a hne up at X and 7 for 
about J4 of the foundation space, which means if 
this foundation space is 1 inch, it must be ji of an 
inch and then curve the collar slant especially on 
the left hand side towards 7. Then curve the 
shoulder from 7 to X towards the neck down to 
the bust curve. The bust curve, you will note, is 
crossing the line, which is drawn from 8 to 9 about 
^2 space between breast and waist line. 10 is 3^ 
space between 9 and the center line and continue 
with a straight line from 1 to 1 1 . 11 is ' - of the 
box from the right hand outside to the center. 

Now curve from the bottom of neck, from 7 
to X and also the upper part of the neck to show 
the hollow of neck, as shown on the diagram. 
See the next diagram and description for the 
•entire completeness of the dress foundation. 



THE PRACTICAL SKETCHER 41 

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42 THE PRACTICAL SKETCHER 



LESSON NO. 23 

COMPLETE DRESS FOUNDATION 
RIGHT HAND SIDE VIEW 

Now to continue to complete the entire foun 
dation by preparing the entire outHne for the 
dress as follows : Draw the armhole and sleeve at 
the left hand side from 7 down to 9 with a medium 
curve to meet the straight effect from 7 to 8 and 
then draw a curve from 7 towards 10 to the out- 
side elbow of the sleeve with a much fuller curve 
than the inside curve of the sleeve. See to it that 
the length of sleeve is rested on the hip line and to 
show there a hollow part or an opening of the cuff 
at 9 and 10. 

Now make a curve from 8 to 11 which makes 
the left hand side seam, which is ^^8 of an inch in 
from 1 3. Then curve from 8 towards 1 1 down to 
1 2 for the full continuation to 1 2 , which meets the 
bottom of the dress. Note that 8 is about ^; of 
an inch up between I2 space of breast and waist 
line. 

This sleeve foundation is showing the natu- 
ral armhole in depth. Now continue in prepar- 
ing the right hand side sleeve, which is hidden 
between bust effect the following way. 6, which 
is showing the full length of sleeve, is }2 space 
between the straight line and the edge line of the 
dress, right side, and continue to curve about one 
sixth of an inch in on the straight line at 3 so that 
the sleeve shows a trifle curve effect similar to the 
full sleeve shown on the left hand side and finish 
the full length of sleeve both alike. 



THE PRACTICAL SKETCHER 43 




44 THE PRACTICAL SKETCHER 



LESSON NO. 24 



COMPLETE DRESS FOUNDATION 
LEFT HAND SIDE VIEW 



This foundation is the same as the previous 
lesson called complete dress foundation right 
hand side view. The foundation is different only 
in the opposite way of built. The bust is built 
towards the left instead of the right, therefore, 
follow instructions exactly like the one before 
with the opposite dimensions and no other addi- 
tional time is to be wasted. 

The reason this outline is given is to suit the 
•different tastes and ideas of people who may want 
to make their sketches towards the left instead of 
the right. We practically advise all sketchers to 
make useof mostly the right hand view, but many 
timesit isa caseof habit and we, therefore, show 
this particular left hand view, otherwise, there is 
no different point regarding mechanical details, 
whatsoever. 

Regarding a more clear proposition of gar- 
ment sketching, as we have already explained we 
are showing a complete foundation without sys- 
tematic lines but only by traced lines, which is 
.given in the next pages of this book. 



THE PRACTICAL SKETCHER 45 




46 THE PRACTICAL SKETCHER 



LESSON NO. 25 

COMPLETE DRESS FOUNDATION 
BACK VIEW 

In order to begin this lesson it will be most 
advisable to see the beginning of back view of 
the blouse, which is shown on pages 15, 16 and 17 
as they show the beginning of how the same is 
conducted. The difference is that this time we 
use the entire foundation for the dress, which con- 
sists of 7 one inch spaces in length and 2 one-inch 
space in width and note the following ; 

The first or top space is divided by 5 and 6, 
on which the shoulders rest and from 5 to 12 and 
6 to 11 is 5 of an inch in. The line at 7 and 8 is 
the neck line where the neck is raised up at 9 and 
10 the same as on the blouse sketch. 13 and 14 
is the i space of each inch space and from 1 1 to 13 
and 12 to 14, make also the same curves and the 
continuation with the hip curve from 13 against 
19 to 4 and from 14 towards 20 down to 3, 19 
and 20 is Ji of an inch in from the outlines, which 
gives a medium size hip. 

No doubt, the hip wants to be larger and also 
the bottom of the skirt is to be larger. The 
sleeves for this diagram is conducted the same 
as the back blouse, lesson 8 shown on page 17. 
Otherwise, there is very little difference between 
this dress or blouse foundation. 



THE PRACTICAL SKETCHER 47 




48 THE PRACTICAL SKETCHER 



LESSON NO. 26 

COMPLETE DRESS FOUNDATION 
RIGHT HAND BACK VIEW 

This diagram is showing the back with the 
right hand view and the difference between this 
and the flat back view is as follows : Note first of 
all the center of this foundation which is the same 
as others. The center line is shown on the top 
line at 23 down to X at the waist line. 

Then 22 is Yi of the box space between 2 and 
23. The space between 22 and 23 is this time 
used as the neck space, which means that when 
the shoulder and sleeve is shown right hand view, 
the neck in such case, is placed in the left hand 
view and, therefore, at 6 we build the shoulder 
narrower 5;-: of an inch in from the straight line. 
The right hand shoulder is connected /- space in 
of the shoulder line showing at 19. 

This foundation is also similar to the back 
blouse right hand view shown on page 19, but it is 
differently built on account of a more fuller waist. 
The waist line from X to 13 is ^3 of the box space 
towards the right hand and from 12 to 1 1 is one- 
third of the box space, or the space between X and 
1 1 is -' 3 of the entire space between X to 1 2 . Con- 
tinue to curve from 1 1 against 14 down to 15 for 
the fuller bottom, and from 13 to 16 continue a 
straight line to the bottom of 17. From 3 to 17 
is one-third of the box space, which means if this 
box space is 1 inch , the space from 3 to 17 is snug 
^"8 of an inch: 



THE PRACTICAL SKETCHER 49 




50 THE PRACTICAL SKETCHER 



LESSON NO. 27 



COMPLETE DRESS FOUNDATION 
LEFT HAND BACK VIEW 



This diagram is showing the lesson before 
with one trifle exception, that this is the left hand 
side view and. therefore, is to be built the same as 
the right hand side view with the following dif- 
ferences : 



Instead of having the neck built on the left 
hand side it is built, this time, the opposite way 
towards the right hand space of the outline. 23 
is also the center line and 22 is ^ of the box space 
between 2 and 23. The shoulder is also placed 
in the opposite direction. The waist and the 
continuing of fullness of the bottom is also built 
the reverse way. 



It i would be advisable for every student to 
make always a full study of the right hand side 
view first and to follow the left hand side view 
just the opposite way. 



THE PRACTICAL SKETCHER 51 




52 THE PRACTICAL SKETCHER 



LESSON NO. 28 



DOTTED OUTLINE FOUNDATION 
FRONT AND BACK VIEW 



These 2 diagrams are showing the front and 
back dotted outline foundation, which are an 
exact copy of the front and back foundation given 
with full description and systematic outlines in 
the front pages. 

The reason for doing so is to show the clear 
views of these diagrams without any systematic 
outlines. The same can, no doubt, be obtained 
only when the student has a full knowledge of 
how to produce the foundation by systematic 
outlines only, because sketching or free hand 
drawing needs training just as well as everything 
else and to train ourselves to such mechanical 
controlling that this is the particular reason that 
all sketching ontlines are shown with systematic- 
al productions in most of the work given in this 
book. 



Now, in order to make use of these diagrams 
it is necessary to practice each and every diagram 
so long that you are able to make it a free hand 
outline as given herewith. Then when we have 
the taste for sketching any style of garment, we 
are ready to continue the same on the clear figure 
drawings. To obtain the best results watch the 
next lessons of how to sketch a style on a system- 
.atic foundation. 



THE PRACTICAL SKETCHER 53 



54 THE PRACTICAL SKETCHER 



LESSON NO. 29 

STYLISH DRESS FOUNDATION 
WITH SYSTEMATIC OUTLINES 



In order to prepare a style on the foundation 
the first thing necessary is to build the collar and 
see how deep the opening is supposed to be. Im- 
mediately decide if there is buttoning in the front 
or back. The front diagram shown herewith is 
buttoning in the front, therefore, an allowance is 
made a trifle towards the side. The line at 8 is 
shown in the center, which is drawn down from 10 
the center line of the entire foundation. 

Note that this foundation is facing the right 
hand side, therefore, call it the right hand side 
view. The neck is placed to the left hand side, 
which simply means looking from the left to the 
right. Next the belt effect and see if there is any 
fullness in the waist making the heavy marks at 
the waist to point out the fullness in the blouse all 
around the waist. When there is a belt, place the 
same fromthenatural waist line. 

At the same time mark the style of the front 
of skirt. If there is a buttoning in front of the 
blouse of the dress, make the continuation of 
same as shown on this skirt in front down to 11 . 
Remember, mark this style of cuffs the same as 
the collar. This collar happens to be scallopped 
follow the cuffs the same. 

The BACK view is always built on Y^ the 
size of scale. If the regular style is 1 inch, the 
back is % inch. Copy the back part of the collar 
and cuffs to show the exact outlines of front. Con- 
tinue with the fullness of the back around the 
waist so that it will harmonize also with the front. 



THE PRACTICAL SKETCHER 5 5 




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56 THE PRACTICAL SKETCHER 



LESSON NO. 30 



STYLE OF SUIT 
FRONT VIEW 

In order to begin this suit, it is understood 
that the entire foundation is to be used, as the suit 
consists of a jacket and a skirt, which covers the 
entire body. Before beginning this style note the 
position of the foundation. Ihe position of this 
entire diagram shows a right hand view and to 
continue the style begin first with the jacket the 
following way. Situate the opening of the lapel 
in front according to your taste, which is this time 
with 5-' space of the breast and the waist line. 
Then take about ^i of shoulder, which is shown at 
5 and continue with the collar and notch lapel, 
lost to the buttoning place. 

Note that 3 at the breast line is the opening, 
is closed, which shows that the center line from 3 
to 4 is the guide to show how much ever lapping 
there is. Note extension at the collar all around 
the neck, which is shown at 9 and 10. The left 
hand lapel at 6 is, as a rule, built wider to show 
the side effect of the entire garment. At the 
right side we are showing the exact space of every 
part of the garment. Ihe scallop and gathering 
at 7 and 8 shows ys space between the waist and 
hip line. 

The skirt part is built on the same fashion- 
able outlines as the jacket to harmonize with the 
•out-growing points regarding style and effect. 



THE PRACTICAL SKETCHER 57 




58 THE PRACTICAL SKETCHER 



LESSON NO. 31 



STYLE OF SUIT 
BACK VIEW 



This is the back view of the diagram shown 
before. Continue the finishing outHnes of the 
back with the same style. Before going any- 
further remember 2 things when showing the back 
view. 1 . The back view is always shown on \'z size 
of original front sketch. 2. The back view con- 
tinues the finishing points of style shown on the 
front view and always shows the finishing details 
of such beck en a flat back view. 

To carry out the finishing details of the back , 
continue the width of collar according to the front 
and judging the width of collar according to the 
width of shoulder as shown at 1, 2 and 3. At 4 
and 5 arc seams at the lower part of armhole. 7 
and 8 is the waist line. 9 is above the waist line 
and the 2 opposite points are below the waist line. 
10 is showing an open split by the 2 opening lines 
lost up to the hip line. 

The forming of the bottom of jacket is shown 
somewhat short against the back, showing that 
this back is a long trail and gives the understand- 
ing that the front of this jacket is a cut-a-way fron^ 
The skirt part, as not having any particular out- 
line of style, only continues the lengthening part 
as an ordinary outline 



THE PRACTICAL SKETCHER 59 




60 THE PRACTICAL SKETCHER 



LESSON NO. 32 



STYLE OF COAT 
FRONT VIEW 



Before beginning this sketch, note that the 
sketch is placed on a left hand side form and you 
may therefore refer for beginning instruction for 
such form on pages 44 and 45. When you are 
fully acquainted with such form continue with the 
style of the coat the following way. 

Extend the collar around the neck at 11 and 
12 and follow the width of shoulder as shown on 
diagram at 1 and 2. Continue with the lapels from 
3 to 10 down to the opening place, which is about 
between the waist and hip line. At 1 there is no 
regular armhole shown but a yoke, which makes 
it a kimono effect coat. 

Now continue the curving of the cut-a way 
front Curve first the left hand side lost to 8 and 
note that the curve begins from the center Hne. 
The guide for the center line you may use from 1 2 
to 9 down to the bottom by which you may also 
note at 9 lapping over for button stand. Then 
continue from 9 to 7, which will finish the right 
hand side. 

Always remember when making a cut-away 
front make the inner side shorter looking and the 
outside, which is this time the left hand side at 8, 
longer. The pocket place according to this dia- 
gram is a trifle below the hip line, which may be 
used for all long coats. Sleeve lengths, as a rule 
should only come to the hip line. 



THE PRACTICAL SKETCHER 61 




62 THE PRACTICAL SKETCHER 



LESSON NO. 33 



STYLE OF COAT 
BACK VIEW 



In making a back sketch it should be remem- 
bered that the back, as a rule, is sketched flat to 
see the entire effect of the back. This rule may 
be changed in showing an important part of the 
side view, which happens very seldom. 

Remember, it is not necessary to sketch the 
back the same size as the front, but only on Y^ the 
size and we, therefore, make use of the ,^ o inch 
spaces for this back foundation which has already 
been explained in the last stylish back view for a 
suit. 

To begin note at 1 and 2 is beginning the arm 
effect where the sleeve begins to show its effect. 
This back is showing a kimono effect coat and the 
yoke effect below 1 and 2 is about 2 inches below 
the armhole. 3 and 4 is at the waist line where 
it shows a trifle shapy effect. This gives an idea 
that this is not a full coat but a half fitting coat. 
Then extend the lost fullness towards the bottom 
from 3 to 5 and 4 to 6. Follow the curving at the 
bottom according to the continuation of the cut- 
a-way effect of the front shown before this. 



THE PRACTICAL SKETCHER 



63 




64 THE PRACTICAL SKETCKEF 



LESSON NO. 34 

PROPORTIONAL DETAILS ON 
MISSES SIZES 

In beginning the section of misses' sizes pro- 
portional sketching, it is necessary to make a few 
remarks which are as follows: Remember that 
the misses' size of proportional outline of sketch- 
ing is about the same as the women's size. The 
only part which we may have to change is to make 
the sketch a trifle shorter, which will not be much 
recognized on the sketch and therefore, does not 
pay to make this little change. It will be neces- 
sary for everyone who would like to know this 
trifle change to look en the beginning pages of 
this work where the height of each proportion is 
given and it will be found that the 16 which is the 
model size for misses' sizes, measures in height 5 
feet 4 inches, which means 2 inches shorter than 
the total height. 

The waist length is >2 inch shorter, the skirt 
length is I4- inches shorter and balance of the 2 
inches amounts to 3^4 of an inch decreased in the 
head space. In order to simplify this action, it 
would be necessary for sketching misses' sizes to 
take somewhat smaller space for equal propor- 
tions of sketching, which means instead of 1 inch 
make use of 78 of an inch space and the entire dia- 
gram is smaller in proportion. 

Follow rules as before with exception when 
making a full length garment dress, suit or sepa- 
rate skirt to show the skirt is worn shorter than 
the women's size. Otherwise, follow proportions 
as shown on opposite diagram and use rules as ex - 
plained before for further diagrams for misses' 
sizes. 



THE PRACTICAL SKETCHER 65 



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66 THE PRACTICAL SKETCHER 



LESSON NO. 3 5 



4 7 

5 8 


1 

2 


6 9 


5 



FOUNDATION BLOUSE FOR 
MISSES' SIZE 



In order to begin proportional outlines for 
misses' sizes draw the same lines as for women's 
sizes as diagram shown above. Remember the 
little difference that the space between 1 and 2, 
1 and 7 and 2 and 8, which is an even square of 1 
inch used for women's size. For misses' size may 
be used { of an inch smaller to decrease propor- 
tionately the outcome of misses' size body for 
blouse, waist or jacket which means if these boxes 
will be decreased proportionately they will show 
the proper feature for misses' sizes. Sec next 
lesson for further instruction. 



THE PRACTICAL SKETCHER 



67 



LSSSON NO. 36 




COMPLETE RIGHT HAND FRONT VIEW 
MISSES' SIZE 



This foundation represents the front, right 
hand side view for misses' size 16, which shall be 
conducted the same as the women's model which 
is shcun in the front pages of this book. The 
space at all points shall be proportionately divid- 
ed according to the outlay of its original box lines. 
ioT instance, 7 which is showing the height of 
bust should always be half space between the 
center and edge lines or the space at 6 shall in- 
crease the bust, which is always J8 of an inch. 
Use all other details according to instruction by 
which a complete and proportional outline will be 
obtained. 



68 THE PRACTICAL SKETCHER 



LESSON NO. 37 





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BACK VIEW OF BLOUSE 
MISSES' SIZE 



To begin back view, draw your ordinary out- 
line of 4 equal boxes proportionately for misses' 
sizes as explained for misses' proportions. Then 
divide equally the space between the upper top 
line and the lower line, which appears at 1 and 2 
and draw slant lines in for the neck from 2 to 8 
and from 1 to 7. as shown on the diagram. 

Connect shoulder lines from 1 to 4 and 2 to 3. 
3 and 4 are | of an inch in from the straight line. 
Then divide on the bottom line, between the edge 
line and the center line on both sides half space, 
which makes 9 and 10 and the space between 9 
and 10 is the original width of back at the waist 
line making the proper space for belt at the waist 
line. This makes it ready for continuation with 
the next lesson. 



THE PRACTICAL SKETCHER 69 



LESSON NO. 38 




MISSES' SIZE 
BACK VIEW Complete. 

In crder to complete the back view, it is now 
necessary to continue the curving of shoulders for 
the sleeves from 1 down to 7 and 2 down to 8. 
The space of curve is 7 and 8, which is about H of 
an inch extended from the original outline of the 
box which always means i of the box space, which 
we use for sketching. 

The sleeve length of this sketch is situated 
according to the full length of the waist, which 
reads to 7 and 10 and 8 and 9. The space between 
7 to 10 and 8 to 9 is about H inch or % of the box 
space, and connect to 18 and 19 for the underarm 
space, which is about V2 space between the waist 
line and breast line and then it is necessary to 
make a round curve from 1 to 3 and 2 to 4 . Be 
careful and study these curves as they are the 
most important part in sketching. The bel 
effect between 3 and 5 and 4 and 6, you will notice 
is about \ of an inch for 1 inch space of sketching. 



70 THE PRACTICAL SKETCHER 



LESSON NO. 39 



PROPORTIONS OF JUNIORS' MODEL 



In order to begin the junior model, memorize 
that we are always to make use of 15 as the model 
size for juniors'. The cut on the opposite page 
shows the proportionate outlines of such model, 
by which we can tell the growing height of every 
proportion of the body, especially, the length of 
the skirt or dress, which a junior may wear. 

On the front pages of this book you will find 
the proportional total height for this particular 
size and it is not necessary for us to employ a 
different method for juniors' sizes than the 
method that we use for women's or misses' sizes. 



See the next lesson for further instruction. 



THE PRACTICAL SKETCHER 



71 



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72 THE PRACTICAL SKETCKER 

LESSON NO. 40 



JUNIORS' MODEL 
BEGINNING OUTLINES 



In order to begin juniors' model foundation 
for the entire body, which may be used for a dress, 
suit or coat, we are to employ the entire founda- 
tion from the neck to the ground and then we are 
to deduct the space between the length of such 
dress, suit or coat to the ground which you may 
notice on the opposite diagram where the drawing 
of feet are shown, vvhich is the last space of the 
foundation from 7 to 8 and 14 to 10. 

The foundation lines for the entire body is 
equally divided into 8 sections the same as the 
women's and misses' sizes with the only exception 
that this space is shorter as the entire height of 
bcdy is shorter. The amount of the entire height 
of the junior body you will find on page 7 of this 
book and note that 15 is to be the model size for 
juniors' and the height is 5 feet and 1 inch. 

The line at the upper space below 1 and 0, 
which is located at 17 and 18 is already preparing 
for the shoulder height, which is to be continued 
on the next diagram. The outline of feet draw- 
ing at the bottom space between 7 and 8 and 14 
and 10 is showing that this diagram is to be con- 
tinued as a front foundation and will be continued 
as such in the next lesson. 



THE PRACTICAL SKETCHER 73 



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17 18 




74 THE PRACTICAL SKETCHER 

LESSON NO. 41 
JUNIORS' FRONT MODEL COMPLETE 

The complete juniors' model, which can be 
used for either dress, suit or coat continue as 
follows: Divide the space on the top line from 
X to 0, which makes 1 6 and draw a line up. From 
X to IS take \ of the space between X and I. 
Draw a line up and curve the neck somewhat nar- 
rower on top. Make from 16 to 18 for the left 
shoulder and from 1 5 to 17 for the right shoulder, 

17 is half of box space and curve a trifle forward 
all the way down to the sleeve, from 17 down to 
the hip line, which is 4. Continue curving 17 to 
12a trifle in at the waist and continue down to 1 3 
for the entire length of the garment. The length 
for juniors" garments is \ shorter than the total 
height. 

Continue the armhole for the left side from 

18 down to the hip and for the length of the sleeve 
a trifle curvy Then make side curve and begin 
about half way between breast and waist lines 
curving in at 11 to the waist line to show a dis- 
tinction of waist and curve down to 14 for the full 
side length. Increase the curve at hip line, which 
is 4 and draw the line straight down to 14, which 
is the bottom. Curve the outside length of sleeve 
from the shoulder tip of 18, curving somewhat 
round and full till reaching the ending part of the 
sleeve which rests on the hip line at 4. The heavy 
line in front of neck at X indicates the center of 
neck. Continue somewhat curving all the way 
down straight to the waist and down to the bot- 
tom. Note necessary curves at neck and waist. 
Curve from 15 to 16 downwards and at the waist 
from 1 1 to 12 downwards towards the bottom to 
show the effect of the front action, which is to be 
always a deep curve. 



THE PRACTICAL SKETCHER 75 




75 THE PRACTICAL SKETCHER 



LESSON NO. 42 



JUNIORS' MODEL 
BACK VIEW 

In beginning foundation for the back view 
draw foundation lines as the front. The feet 
drawing at the bottom will show as a continuation 
which will be contiuued in the next lesson. The 
shoulder line, which is below line 1 and 0, at 9 and 
1 is also preparing the same way for the resting 
place of the shoulder. 



The only difference there may be between 
the front and back foundations is that the back 
shoulder will be equally divided as the back, as a 
rule, is shown in a flat position. 



See next lesson for further instruction. 



THE PRACTICAL SKETCHER 77 



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78 THE PRACTICAL SKETCKER 



LESSON NO. 43 

JUNIORS' MODEL 
BACK VIEW Complete. 

In completeing the back view of juniors' 
model note that the back is shown in a flat posi- 
tion . Eoth sides of X, on the top line, to 1 2 and 
13 is H of the box space. Draw a line up from 12 
to 15 and 13 to 14 half of the box space, which 
will entirely build the foundation of the neck. 
Now connect from 12 to 9 and 13 to 10 for both 
shoulders alike and note that 9 and 10 is \ of the 
box space in from the straight outlines. Then 
continue with a curvy line from 9 to 16 and 10 to 
17 to the waistline and from 11 to 16 and 17 is 
full half spaces each side from 1 1 , which gives a 
trifle shapy waist effect. Continue with a trifle in. 
crease of curve to the line below, which is the hip 
line and down the straight lines for the full length 
of garment from 1 6 to 1 8 and 1 7 to 1 9 . 

The space between line 7 and 8 is -g of the 
total height, which is left unclothed as this 
is about the space showing the proper length of 
garment necessary for juniors' model size 15. 
Continue the outgrowing effect for sleeve and full 
round effect beginning at the shoulder point at 9 
and 10 and to stop exactly on the hip line, which 
is 4. Make the inner curve of the sleeve some- 
what curving out to follow the effect of outside 
sleeve curves and to stop on the hip line as shown 
on the diagram. Carefully note the difference be- 
tween the neck and hip curve in front and back as 
follows : The curve at the neck for the back part 
from 12 to 13 is curved upwards and the same 
way curve the waist effect from 16 to 17. 



THE PRACTICAL SKETCHER 79 





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80 THE PRACTICAL SKETCHER 

LESSON NO. 44 

CHILD'S MODEL 
BEGINNING FRONT OUTLINES 



To begin the child's model foundation lines 
for the entire body, which may be used for 
dress, coat or suit we are to employ the entire 
foundation from the neck to the ground as shown 
in juniors' sizes which will show a difference be- 
tween the juniors' and child's bodj'. Note the dif- 
ference in height and that the very same spaces 
are used in equal divisions with one difference, 
that the spaces are somewhat shorter built for the 
child's model. 

To begin foundation lines draw lines as usual 
and use spaces about 3 a of an inch shorter than 
spaces for juniors' sizes between 1, 2, 3, 4. 5, 6, 7 
and 8 and you will find 7 equal spaces. Whatever 
amount of spaces you decide to make for child's 
outline from 1 to 2, etc. make the double spaces 
in width from 1 to X and X to 3. The line below 
1 and 0, which is at 12 and 13 will be the resting 
line for the shoulder points. Take special notice 
of the important details necessary for child's size, 
which are as follows : 

On a juniors' foundation | of the total height 
is raised from the bottom line up, which is from 8 
to 7 showing the proper length of dress or coat. 
For child's size you will find two-eighths of the 
height, which is from 8 to 6, shows that for child's 
sizes, dress or coat, is to be a great deal shorter, 
whereby, the length of such garments will reach 
somewhat below the knee. This is important and 
should be carefully remembered in sketching out- 
lines for children's garments. 



THE PRACTICAL SKETCHER 81 



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S2 THE PRACTICAL SKETCHER 

LESSON NO. 45 

CHILD'S FRONT MODEL COMPLETE 

In complctcing a child's front foundation 
continue sketching for the body foundation as fol- 
lows: Complete the neck by dividing about i 9 
space from to X, which makes 16 and from X to 
1 5 is J of the space between X and 1 . Curve im- 
mediately from 15 to 16 and both sides of the 
raising lines from 15 to 16 curve slanting way in 
for the neck part. Then make the round circle 
at top for the neck, as shown on the diagram. 

From 1 to 17, which is showing the shoulder 
point, is about ,^/5 space in. Connect from 15 to 
17 and 16 to 18 with a full or a trifle increased 
amount to the outside line, which is drawn from 
to 10. Continue the right hand sleeve from 17 
with a medium out.vard curve somewhat below 
the hip pass 4. The left hand sleeve, which is 
beginning from the shoulder point at 18 straight 
down towards 1 1 belcw hip line and the outside 
curve is made full from 18 lost somewhat below 
as shown on the diagram. 

Then continue to curve the same hidden 
from the arm for the full length and width of coat 
or dress down to 14 and the right hand side from 
17 down somewhat curvy at 3 out and somewhat 
fuller to 13 and then make a bottom curve from 13 
to 14, which completes the length of this founda- 
tion. Make a waist eftect curve from 3 to 12 and 
11, as shown on the diagram to show the low 
waist effect which is similarly curved to the collar, 
as shown to 15 and 16. Otherwise, this founda- 
tion is complete. 



THE PRACTICAL SKETCHER 83 



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84 THE PRACTICAL SKETCHER 



LESSON NO. 40 

CHILD'S MODEL 

BACK VIEW 



The child's back foundation is similar to the 
one showing the front with one exception that the 
neck Hnes are equally placed on this foundation, 
which is shown on both sides of X at the top line 
to 12 and 13, which means that the back founda- 
tion is always to be drawn flat and not side effect 
as the front. 



In addition to the same, this diagram shows 
the position of feet showing the back part only cr 
an action towards the front and note the same on 
the diagram. Great care should be taken in this 
matter to recognize the front or back view 
correctly by the action of the feet. Watch both 
diagrams of the front and back and you will then 
:note the difference 



THE PRACTICAL SKETCHER 85 



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86 THE PRACTICAL SKETCKER 



LESSON NO. 47 

CHILD'S MODEL 
BACK VIEW Complete. 



To complete the back view for a child's 
foundation, immediately raise the shoulder point 
from 12 to 13 to the line below 1 and 0, for which 
that line is particularly used. Curve the neck at 
Hand 15 somewhat slanting in from the straight 
line and curve round effect upwards from 1 2 to 15 
and 13 to 14. Continue curving the body from 
the shoulder point down from 1 to 10 and to 1 1 
a trifle shapy and continue to the bottom to 18 
and 19 as shown on the diagram. At the same time 
note the difference between this and the juniors' 
size, which is a great deal more curved at the 
waist line. It will tell you that the child's gar- 
ment is supposed to have a fuller effect in the 
waist. 

The sleeves for the back foundation are 
alike. Begin from the shoulder and full effect 
curving to 16 and 17, which is a trifle below the 
hip line. The inner seam of the sleeve of this dia- 
gram is not noticeable because it is hidden by the 
full effect of the waist. The sleeves are showing 
the action towards the front. Otherwise this 
diagram is complete. 



THE PRACTICAL SKETCHER 87 



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88 THE PRACTICAL SKETCHER 



LESSON NO. 48 

INFANT'S MODEL 
FRONT FOUNDATION 



In beginning infant's front foundation for the 
entire body which may be used for a dress or a 
coat, we employ the entire foundation from the 
neck to the ground as shown in the child's size. 
Note the difference in height, each space is some- 
what less than the child's size. It is immaterial 
what space is used for the child's body sketch, 
for the infant's we use I less to make the founda- 
tion look shorter in order to correspond with the 
age of the child. 



Otherwise divide the spaces as usual. For 
the full length garments which is to be the dress 
•or coat is to be built to the knee which is similar 
to the child's model. The outline is to be followed 
according to the instruction of child's model with 
the exception which is mentioned above. Other- 
wise the difference between the child's and infants 
jnodel is verv trifle. 



THE PRACTICAL SKETCHER 89 



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90 THE PRACTICAL SKETCHER 



LESSON NO. 49 

INFANT'S MODEL 
BACK FOUNDATION 



To complete the back view for the infant's 
model foundation immediately draw the same 
foundation as for the child's model with the differ- 
ence as mentioned in the front that each space is 
to be I less than the child's. Otherwise all rules 
and regulations for body sketching are to be about 
the same with the e.xception that when a style is 
to be built on top of this foundation, the style of 
garment may be built somewhat fuller in width 
which is an important action in infant's garments. 



In order to fully understand the necessity of 
■describing the infant's model height it would be 
advisable to see the front pages of this book 
where each model size is specified under a differ- 
ent height by which we may learn the difference 
in height for each and every different model. 



THE PRACTICAL SKETCHER 91 




92 THE PRACTICAL SKETCHER 



STYLISH CHILD'S MODEL 



On the opposite page you will find cut show- 
ing front and back view of child's stylish model, 
from which we learn the following outlines : 

The child's dress is built on a loose form. If 
it is a dress or a separate blouse and skirt, the 
length of the total garment reaches only to the 
knee and the waist effect, as a rule, shows below 
the waist line, although this rule may be changed 
from tine to time according to whatever style 
there may be. 

When copying styles see that the entire 
action of the front view shall be transacted the 
same way at the back which may be referred to 
the fullness of blouse at the waist or the style of 
collar. Take into consideration the collar effect, 
the both look alike, the front and back. You 
will note the additional stripes shown. Either 2 
models give a direct outline of how to follow 
measurements for child's garments or where the 
proper place of such measurements are taken 



THE PRACTICAL SKETCHER 93 




94 THE PRACTICAL SKETCHER 



ORIGINAL IDEAS 



To originate new ideas, it is somehow or 
other something not everyone can do, but in order 
to obtain such method, I will herewith give a few 
points on the topic, which may enlighten those 
who are interested to produce something of their 
own. To begin something of our own we must go 
to work and begin something entirely different 
from anybody else and we need to know or think 
of a certain foundation that such style of garment 
is to be built on, which may be similar to the 
music writer. The words and the action of a song 
may be new but the melody is probably not en- 
tirely new. The melody is the foundation of its 
draft and no doubt that such melody is not sup- 
posed to be a simple copy of some other song, if 
the song is supposed to be a new one, but somehow 
or other, it is a connection of some other tune and 
v;hatis new is the words and actions. We are 
about in the same position to obtain something 
new which mr.y be called our own original outlines 
We first have to create in our mind what we are 
to make up and then build such style. I posi- 
tively warn everyone not to do anything unless he 
has a foundation of some kind of outline as no 
house of standard work is built without any foun- 
dation. It is therefore necessary to remember 
many other principle points to go on with this 
■original work. 



THE PRACTICAL SKETCHER 95 



Before starting such production, make a 
record of the following details: What is your 
garment supposed to be; a blouse, jacket, coat or 
cape. Length of your garment, length of sleeves. 
What style of fitting. What style of front, single 
or double breasted. Style of lapel or collar, if the 
garment is supposed to be lay-over, button -up 
collar or collarless. Cuffs or no cuffs on sleeves. 
Style of pockets and flaps. How many pockets 
shall the garment contain, how many buttons and 
button holes and what style or size. How shall 
the lengths of the garment be cut, if cut-a-way 
front with round back or straight bottom. 



After you have completed such record, you 
are about ready to begin to make the foundation 
of your pattern. Now decide or particular re- 
member the size of your model sizes that you have 
to use and see particularly if the style of garment 
you are to originate is suitable for that model size 
or section for all sizes, which you may originate, 
as it is important to remember that some styles 
will be practical for women's and misses' sizes and 
will not be practical for any other smaller sizes as 
junior's children's and infant's Therefore, de- 
cide well before making this important step and 
see that your time will not be wasted. 



96 THE PRACTICAL SKETCHER 



LENGTHS FOR ALL MODEL PATTERNS 



In order to make suitable lengths for model 
sizes, we need to look into this matter a 
great deal differently than producing lengths for 
size 36. To begin it is first necessary to see about 
misses' sizes, which the model size is 16 and may 
be foUov.'ed according to the size 36. Remember 
when deciding about lengths for different sizes, it 
is necessary to look upon the different heights of 
the different model sizes, as they are a great deal 
shorter in length, especially the junior's children's 
and infants' sizes. In the front page of this book 
the proportional height for each model size is given 
and follow that rule in conjunction with the style 
for each and every season because the lengths of 
garments may be ccrtrolled by the style. 

At the same time there is another thing to re- 
member when speaking of styles, the length of 
garments may be controlled under 3 different out- 
lines which are as follows : Height of form, size of 
garment and style. These may be connected with 
the follov;ing suggestions. When referring to 
model sizes, especially, misses', junior's, children's 
and infant's we are to look upon the age and then 
the height and size. Use these points to serve as a 
protection of not misleading the great importance 
of knowing correct lengths for all kinds of 
women, misses's, junior's, children's, and infant's 
garments. 



•HE PRACTICAL SKETCHEK 97 




This cut represents the natural looks of a skeleton 
foundation of a kimono, which is for filling in of style as may 
be required from time to time. 



98 THE PRACTICAL SKETCHER 



I .V D E X 



Page. 



Title I 

Introduction 5 

Problem of Garment Sketching 6 - 7 

Proportions for Body Sketching ^-9 

Blouse Beginning Foundation 10 

Blouse Foundation Continued 11 

Blouse Foundation Continued 1 2 

Blouse Front View complete 13 

Blouse Left Hand Side View 14 

Back View of Blouse 15 

Back View continued 16 

Back View complete 17 

Back View Left Hand Side 18 

Back View Right Hand Side 1 9 

Style Blouse Sketching 20-21 

Stylish Blouse Back View 22 

Skirt Foundation 23 

Skirt Foundation complete 24 

Skirt Sketching in Different Views 25 

Skirt Right Hand Side View 26-27 

Skirt Left Hand Side View 28-29 



THE PRACTICAL SKETCHER 99 



Page. 

Skirt Back View 30-31 

Skirt with Trail Effect 32-33 

Stylish Skirt Sketch 34-35 

Complete Foundation for Eress or Suit 36-37 

2nd Complete Foundation for Dress 38-39 

3rd Complete Foundation for Dress 4 0-4 1 

Dress Right Hand Side View 42-43 

Dress Lett Hand Side View 44-45 

Dress Complete Back View 46-47 

Complete Dress Right Hand Back View 48-49 

Complete Dress Left Hand Back View 50-51 

Dotted Outline Foundation 5 2 -53 

Stylish Dress Foundation 54-55 

Style of Suit Front View 56-57 

Style of Suit Back View 58-59 

Style of Coat Front View 60-61 

Style of Coat Back View 62-63 

Proportional Details on Misses' Sizes 64-65 

Misses' Size Blouse Foundation 66 

Misses' Blouse Right Hand Front View 67 

Misses' Blouse Back View 68 



100 THE PRACTICAL SKETCHER 



Page. 

Misses' E louse Complete Back View 69 

Proportionsof Juniors' Model 70-71 

Juniors' Model Beginning Outlines 72-73 

Juniors' Front Model Complete 74-75 

Juniors' Model Back View 76-77 

Juniors' Model Back View Complete 78-79 
Child's Model Beginning Front Outlines 8()-81 

Child's Front Model Complete 82-83 

Child's Model Back View 84-85 

Child's Model Back View Complete 86-87 

Infant's Model Front Foundation 88-89 

Infant's Model Back Foundation 90-9 1 

Stylish Child's Model 92-93 

Original Ideas 94-95 

Lengths for All Model Patterns 96 

Kimono Sketch Foundation 97 




LIBRftRY OF CONGRESS 

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Whenever you are 

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You need a 

^^Practical Designer' System Book 

because it is 

What it shall be 
> And vs^hat it has to be 

And what it is 

A complete library en designing and pattern rnakinr; 
with grading and special pattern cutting, for women's, misses', 
junior's and children's garments contains 164 diagrams 
occupying 302 pages. 

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